Charles Mingus

Besides the masterfully sloppy music within, this 1961 recording offers two noteworthy elements to the Mingus discography: the presence of Roland Kirk blowing his usual assortment of horn-like oddities, and the presence of Mingus himself on piano (Doug Watkins replaces Mingus on bass). The loose (even for Mingus) environment brings Mingus's vibrant but tense sense of humor to the fore. As usual, his compositions borrow heavily from blues and gospel sources. His quirky, devilish piano work adds a new dimension to his music while Kirk, Booker Ervin, and Jimmy Knepper all contribute solos that are alternately pithy and passionate. Mingus even sings his own idiosyncratic lyrics in a number of spots. The CD reissue adds a long but at times insightful interview with Atlantic head Neshui Ertegun. Not a Mingus essential, but rewarding for its peek into Mingus's complex personality and its compelling blend of bitterness and jocularity. While Mingus Ah Um and The Black Saint & the Sinner Lady get the most attention (and hey, they're great), Oh Yeah is my favorite Mingus album.